| | Pat Smillie Letter To Hampton CD Pat Smillie Discography of CDs
Born in Detroit, Pat Smillie began honing his vocal style while still in high school. Inspired by the Motor City's unique rock and soul vibration, he started out listening to Ray Charles, Mitch Ryder, Bob Seger, Joe Cocker & The Temptations and spent his teenage years singing in rock & soul cover bands on Detroit's southwest side. He moved to Chicago in 1992, where he has since become a fixture on the Chicago scene. Letter To Hampton Music | Category | Blues Albums | | Label | Fat Bank Music | | Orig Year | 2003 | | CD Universe Part number | 7158657 | | Catalog number | 46884 | | Discs | 1 | | Release Date | May 27, 2003 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Recording Time | 37 minutes |
Pat Smillie Letter To Hampton Songs | 1. | Thirteen Below Zero |
| 2. | Last Time I Saw Him |
| 3. | Drowning Down |
| 4. | Finest Hour |
| 5. | Comeback, The |
| 6. | Letter to Hampton |
| 7. | Finally Over You |
| 8. | Let's Make a Date |
| 9. | Latanya |
| 10. | Can We Make This Happen? |
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Letter To Hampton Review
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Purchase Letter To Hampton CD To buy, Click on price to add to cart | Sir Charles Jones Tribute To The Legends CD (2009)
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"Press On," a collection of songs traditional and original, is the first solo recording by Will Branch. The album draws on the vibrant tradition of American old-time music, along with Branch's ability as an experienced songwriter. The material is the result of mixing with other local old-time musicians, who were the source of many of the songs. The end result is a powerful album that rewards repeated listening.Branch is joined on "Press On" by a cast of some of the best Milwaukee acoustic musicians. Dave Fox contributes old-time fiddle and his unmatched washboard skills to several tracks, including "Baltimore Fire" and "Empty Hands." Local legend Ken Haferman makes a rare studio appearance - his banjo leads off the track "Baltimore Fire." Susan Jeske-Dermody and John Nicholson, better known as the acoustic duo Frogwater, are featured on fiddle and guitar, respectively. Nicholson also plays banjo on the title track. Lil' Rev, a successful and popular regional folk musician as well as an award-winning harmonica player, plays harmonica and mandolin on the recording, along with contributing some background vocals on the Henry Thomas song, "Don't Leave Me Here."The title song, "Press On," is a classic song from the folk revival of the late '50's and early to mid-'60's. Branch learned the song from Ken Haferman, who in turn learned it from its author, musician Luke Faust. "When I first heard it, I thought it was an old Civil ...
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Written by the WhisperThe cd, entitled Free~ality, is one of the best bodies of work I've heard all year. With only twelve tracks (plus two hidden bonus) it may seem kind of short at first. However, this is one good meal where the courses are incredible. In creating a cd many artists stick to one formula and avoid taking chances; Well taking chances is what makes this artist and her work so wonderful. 'Pop It Lock It' an infectious dance cut, even invokes the sound of house music. Free Spirit never pales against the head bopping beats or the many guest performances on this project.From the intro, featuring Akua Naru, it's feels more like a welcoming into an artist's world, friends, insecurities, issues and all. Acceptance, an audience favorite, won't leave you disappointed as Free Spirit weaves the tail of learning to accept herself dispite her nuances. 'Ripped Panties', my #1 pick, is a beautiful marriage between words and music. It appears to almost draw from Free's experiences as a therapist. Vivid images of four individuals trying to forget tragedy play out ...
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Like its predecessor, Fairytales Can Come True: UK Popsike from the Late '60s, Fairy Cakes for Tea lays on a bunch of rarities selected with an eye for what hasn't been reissued before, also mixing in some non-U.K. European acts among the mostly British tracks. Just one well-known artist (Peter & Gordon, represented by a 1968 single) is included, though the 1969 single by Crackers was actually done by the Merseys operating under a pseudonym, and Oliver Norman's 1968 single "People People" is a Cat Stevens song never released by the composer. It might be the natural consequence of diminishing returns the deeper the well drills, but it isn't as good as the previous volume, though it's OK. Your affection for this material -- even if you're a die-hard British '60s rock enthusiast -- is going to depend a great deal upon your enjoyment of, or tolerance for, songs with an upbeat lilt that often draw from rather fanciful imagery and lyrics that frequently straddle the line between the precious and pretentious. More pop than psychedelia, the arrangements -- often delicate and ornate, and always carefully planned -- are more impressive than the songs, which are a long way from the territory inhabited by the likes of Odessey and Oracle, the early Bee Gees, and other prime exponents of this general territory. It's not dull, and there's some variety, some acts showing lingering mod, Merseybeat, sunshine pop, and folk-rock influences. It's no accident, though, that the most memorable cuts are covers of songs previously given a high profile by American acts (Classics IV's "Spooky" and the Grass Roots' "Look Out Girl"), though Peter's "Values" stands out for its uncommonly moody melody, sounding a little like the ...
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